Theater review: Falmouth Theater Guild's 'Spirit' apt to move you

Saturday

Jan 28, 2017 at 12:17 PMJan 28, 2017 at 6:11 PM

By Kay KeoughContributing writer

When you hire a medium, maybe — just maybe — it’s best not to inquire about the eccentric who rides a bicycle in Indian robes and is writing a children’s book whose hero is a moss beetle. Even if your own intentions aren’t entirely legit or honorable. Socialite and author Charles Condomine learns this lesson the hard way in “Blithe Spirit,” Noel Coward’s witty exploration of marriage relations before and after death.

Falmouth Theatre Guild opened its production Friday night with a firm grasp of the quirky nature of the popular play, which has been adapted for film, television and radio. In it, Condomine invites a couple, Dr. and Mrs. Bradman, to join him and his wife, Ruth, for a seance with Madam Arcati. Condomine has ulterior motives: He’s writing a novel about a psychic and wants to do research.

“(The séance will) probably be funny, but not awful,” he jokes with Ruth before the guests arrive, all the while sipping on dry martinis and smoking a cigarette.

Guess again.

The séance itself is … questionable, at best. It’s full of “knocking” responses from the dead, coordinated by Arcati’s “control,” a deceased-but-somehow-sick girl through whom Arcati connects with the other side. But there is an unexpected and devilishly twisted result: Condomine’s late first wife, the petulant but free-spirited Elvira, haunts him and tries to get him back.

No other person, including Arcati, can see Elvira, which leads to funny interactions where Charles wrongly “translates” Elvira’s unkind words for Ruth. This confuses and unintentionally hurts his current wife, making worse the inevitable divide that widens between the couple the longer Elvira sticks around. Charles is a bit of an idiot about the whole thing, oblivious to Ruth’s pain even when she storms, rages, and calls him out as an “astral bigamist.” To Elvira’s question of whether he still loves her, he replies, “I love the memory of you.” Ouch.

Revelations and realizations emerge about affairs and power dynamics within these relationships, and the characters deal in classic Coward style: with no filters. Eileen Preston — as Ruth — is a standout, her performance building like a train going off the tracks to Crazy Town. Her carefully contained physicality and voice, initially offset by Susan Carliss’ floaty inhabitation of Elvira, morph until all the onstage power radiates from her. She also can reel off a good, dry one-liner with the best of them.

There is some wonderful early banter between Ruth and Charles (Patrick Preston) — owing, no doubt, to the fact that the actors are married in real life. Davien Gould (Madam Arcati) also has some delightful moments when interacting with the dead.

On the way to a surprise ending, however, the performances overall could’ve used a bit more “oomph.” Elements of farce are prevalent throughout the text, but often weren’t quite captured as briskly as they could’ve been on opening night. Nerves and first-night jitters may be the culprit, as the actors settled into wordy dialogue that proved tricky at times. With more performances, this should start to smooth itself out.

Director Lisa Jo Rudy, in her fifth joint production with husband Peter D. Cook (technical director), makes great use of the stage and the impressive, layered set, which features a living room complete with fireplace, arching doors leading outdoors and sliding doors hiding a staircase. It is through both these sets of doors that some great lighting and smoke machine effects create atmospheric weight for entering spirits. The costumes are also fun, particularly the zany looks worn by Arcati (think “Zoltar”-like headwear, animal fur and feathers).

While there are some kinks to be worked out, FTG’s latest offering has the makings of a solid and entertaining night out. So be ready, because this “Spirit” might just move you.